on stage là gì

The predominance of present time - both onstage and in the music - which characterises opera is manifested primarily in solo singing.

The explosion of onstage energy which this dance represents is one of the few moments of 'action' during the piece.

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These items were only visible to lớn a single onstage performer, whose varying reactions (or grim determination not to lớn react) were carefully scrutinized by those offstage.

The performers have to lớn step outside the pretence of a coherent 'real' onstage world in order to lớn acknowledge the audience's presence.

Publicity around the star's feistiness offstage lent the flavour of autobiography to lớn the twice-daily action onstage.

With all these comings and goings, there really is a moment that we cannot easily say if they are onstage or not.

Joan did it as part of the ordinary dialogue onstage.

However, when she exits the building, it is as if she has arrived onstage.

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In opera music is for the listener alone - the characters onstage bởi not hear their music and there is no mediating beholder.

And finally, are the doors we see on television the same as those we have encountered onstage for the past two and a half millennia?

Inscrutability and strangeness, and the distance (and tensions) between onstage and offstage masculinities, are two ideas that emerge from our pieces.

But whenever a sound or voice is heard onstage (and in the auditorium for sure), the presence of the offstage becomes impossible to lớn ignore.

The language of the dialogue adds other meanings to lớn what is shown onstage and these may be remote in both space and time.

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Much was undoubtedly gained in this drive for onstage consistency and interpretative intelligibility.

What happens onstage becomes simply an extension of the offstage.